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I in an issue of Premiere Magazine, they were ranking the most vanguard movies of all time, and Minnie Driver chose Snow White. She explained her choice concerning the sheer audacity of having a developmentally challenged, imprisoned girl continuously getting ping ponged through one scarring, traumatic event after another with darkly comedic glee as she cheerily kept singing whilst being minimally unaware of it all and not learning a single dang lesson from it. I 1000% understand if Disney wanted to shore that vision up a bit for the young kiddos visiting the multiplexes today, but, cheez whiz - this ain't it.

Theatre kid energy gone spoiled with confounding choices upon confounding choices piled up. When they were in post working on the CGI dwarf meeting the irl dwarf- they shoulda have all known they were riding one misguided missile.

With a Thomas Kinkade meets Lisa Frank aesthetic, and Sandy P. banging out some beaut' gowns, you'd think something that is such a fever/crack induced dreamsphere would at least be visually engaging enough to digest and sit all the way through. I found this very very very hard to get through. It's soulless and has no semblance of self. Something that's such an unabashed confection, existing only to be a product - they don't know who they're selling their candy to.

Watched on Wednesday May 14, 2025.

The beginning of Warfare, displaying the CW-ready male model ensemble ('cause regular joes don't fight in the war don't ya' know), all trim bodies and brotox'd up, jumping up and down to the early aught' club fav' Eric Prydz's "Call on Me" - seemingly for the only reason to get featured in David Ehrlich's countdown of the year montage, rings decidedly false and off.

The movie then settles down for a darn good solid hour with Garland and Mendoza taking glorious cinematic dreaded patience in setting up one horrible day. After an hour, though, it becomes a Junior Mint war movie.

A monotonous numbing tone - rehashing the same gist we get from every horror war film ever - and maybe that's the point? To display the banality and repetitiveness of fighting somebody else's war? Maybe the fresh Seventeen cover model troop is to make the sect that would seek those boys next door in the cineplexes horrified to see them all become maddening government-mandated war chum bait? Maybe. . . who knows.

Garland's neutral trend is becoming meh plus one hundro'. This has been done more effectively and stirringly than this stretched-out set piece. The longer it goes on, the more you realize Garland is experimenting with a living retelling docu-drama - and it maybe should've been that, maybe it really should've been an experimental short doc'? It should receive all the nods' for sound design, though, it's super stellar.

Watched on Monday May 5, 2025.

I feel your enjoyment and contentment with Thunderbolts will be directly correlated to your enjoyment and contentment with the decades-spanning experimental big-budget soap opera enterprise that is the MCU.

Unlike the nerdlingers screaming into the Tweeetx void - I don't fully buy into the idea that the MCU is in the deep, dank depths of media hell. The television side has been churning out kinda stellar genre storytelling lately with Loki Season 2 and Agatha All Along, whilst the cinematic side seems adrift on galaxy's seas . . . and what better character to pin that angst onto than Yelena.

In my sometimes humble 'n dumb opinion, Yelena was much better served and sketched in Black Widow and Hawkeye (another solid, underrated MCU ditty), but FloPug is so fantastic as this character, and you get pulled in by her expressive puppy dog ninja assassin eyes and even more ninja comedic timing. Harbour, Pullman and the Grand DAME JLD also bolster the energy of this low-energy story, elevating every overwrought dramatic beat and lame one-liner. The ensemble has entertaining chemistry and made me chortle consistently.

The pathos and punches here are messily assembled but this motley crew successfully makes you want to follow them into whatever the fuck Doomsday will be.

was on the edge of my seat, waiting for this to fully spark into fantastical fire -has a Go meets Tales from the Hood vibe, which made it engaging to take in yet it consistently fizzles and fumbles out as overwritten try-hard pulp. Loved Jac Fitzgerald and Ji-young Yoo's work here quite a bit.

A thud-dud of a flick that seemingly was only created after somebody watched Saltburn and that one trailer sequence from The Lost World: Jurassic Park back2back and went EURRAAeekkEEiiiess!!!

The thing with playing everything so grounded and straight with such a cartoonish premise is that it sucks out all the proposed satire and horror that this story tries to homogenize. Nothing here is spectacular, nothing here is funny, nothing here is scary, nothing here is shocking - besides how mundane everything unfurls. With everything so banal (exhaustive, uninspired referenced movie beats combined with a satire undercurrent so bewilderingly poorly observed), I found myself utterly bored, I think I started to do dishes and sweep during the finale actually.

The ensemble showcases how there is no fire under this film's butt - all the featured actors appear here in cliche roles that the industry would only ever expect 'em in - and they all zombified walked through this. We are left with a shopworn copy of multitudes of way better exercises in genre mixing. A movie called Death of a Unicorn should never be this dull.

This is some of the most fascinating work Alicia Vikander has done in a long while. The domestic subdued sci-fi drama has intriguing ideas abounding, but it's a 15-minute short stretched out to feature length.

Stan Lee really steals this whole dang show here, doesn't he?

Dom Deluise is to Don Bluth as Uma Thurman is to Quentin Tarantino.

I've said it before, but Don Bluth is one of the oddest, most fascinating figures in Hollywood. Going from the dark Disney rebel of twisted fables to purveyor of overprocessed, regressive, Sunny D-grade schlockster is one of the most bewildering filmographic U-turns in mainstream movie history.

The screenplay is threadbare, the characters incapacitated, and it's an abrupt gumdrop of nothing - but to be fair, it ain't for me. This is strictly geared towards the kidset , cheerily so.

Reminiscent of 1950s storybooks, the visual artistry here cannot be gainsaid. It's the season of spring in cinematic form. Bluth in this era seems so earnestly desperate to bottle his own childhood wonder that you have to respect the effort, even if it's nails on a chalkboard. As intolerable as much of this is to listen to, visually, it’s a sugary dollop to take in. A double-dipped deckered Peep.

I'm binging Netflix's (now canon) MCU street-level shows because of personal ennui and the general misanthropy the powers that be are having towards us - aka I needed something easy to dissociate to.

The casting of Luke Cage, Jessica Jones, and ye' olde Daredevil is solid. I laugh wildly anytime exhausted night nurse Rosario Dawson shows up randomly in all of the series, and I also mildly vibe with its pulpy blue-collar scrappy veneer. Thus, I was looking forward to seeing how all the characters and plot threads would come together for this limited series - but man o'war what a listless, janky project.

All the previous series looked 10x more than the budget of this, and at least they're committed to their own bit (yes, I'm including Iron Fist). For a superhero project - everything is dull (and not in a fun gritty NYC 90's TMNT way) to take in, including the writing, which is humourless and non-momentous (how can you have 8 episodes where no character has any kinda arch' is beyond me) especially compared to the entries that accumulated to this. Those were all like B-to-C to be clear -so that bar ain't high. It's also a pop culture sin to misuse Sigourney Weaver in any genre project, and they commit that bubblegum cardinal transgression tragically. How can one make Ms.Weaver look DOWDY?! The costume and art department are the true big bads of this venture.

Why the fuck is this thing so long? It should've been 10 minutes. Kinda liked that the Constable Sheriff Ranger, or whatever he was/is, itting nothing here makes sense, apologizes for the whole thing but says "well, hey, the kids are having fun sooo . . ." - think they're underating kids' tastes.

Director Christopher Landon has solidified his position as a conductor of cartoony, non-threatening slasher comedies with flicks like Freaky and the Happy Death Day series. Here, he still brings those kinetic Merrie Melodies moves to make his over-stylized horror engaging (though his movies are never suspenseful or scary) - but a self-serious tone replaces the self-aware, zippy, almost-wit of his previous films. Taking a very surface-level approach to its weighty themes yet injecting a d.o.a sticom joke that any early aught' half hourer would nix before pre-tape every 10mins leaves this a ridiculously limp mess.

I liked the art direction of the hilariously over-the-top main set piece, and Fahy and Sklenar are great, nuanced actors who both seemed ppaainnneedd in delivering some of the dialogue (which comes across as a sheltered, rich, Rapunzel-esque tween girl writing a fantasy romance in her bedroom). It doesn't earn its "crazy" twists; in fact, it just cheapens itself with each "what the heck" chapter act. A lame dud, and people comparing this to Craven's similar work should watch more Craven.

Deranged for the sake of derrangement. An undone slab of senior senile horror that seemingly hates its characters and thus survival in this storyline unfurls snidely. Who knew Lithgow could outdo his Trinity character from Dexter, but here we be. It's not necessarily a good or bad performance, but the wackiness makes up for the hollow screenplay, which is all disturbingly dressed up with nowhere to go.

There is a much more interesting array of performances from Kilmer to revisit post his ing (Real Genius, Top Secret, The Doors, Tombstone, Thunder Heart etc. etc. so forth and so on). This one was one of my fav' as a kiddo, rewatched this a lot (along with The Jackal) with the fellahs - great score, soundtrack - horrible screenplay and mostly horrible everything else (minus Rade Serbedzija- he rules) - but it has Kilmer doing what he did best, throwing everything to the wall whether it would stick or not. Dumb comfort watch, but 90s Kilmer was something else.

Solid doc’. Very good watch in regards to today.

Both stars for Katey fuckin’ Sagal. 💋🥃👠🎸🎤🩸

Probably good ole' Osgood's most assured technical direction yet. Most of the gallows humour got me chortlin' up a bleak storm. Loved it when it went full cartoon mode - looked and felt fantastic. The contemplative existential dramatic sections felt a bit shoehorned for such a dark comedy, and some of the acting wasn't meshing well against the vibe this was going for. Still, a seriously silly little mortality ditty.

One of my pals was getting stocked by the "Walls" song by Tom Petty all year, so he wanted to see its source and, to be fully honest, that earworm of a killer no filler 100% Petty of a soundtrack is the main reason to watch this. Petty elevates and adds nuance to every minorly written gen-x ennui character and plot beat. If it weren't for those pesky AMPS rules and regs' he would have gotten away with it too - claiming all five slots for Best Song at the '96 Oscars (Walls, Angel Dream, Hope You Never, Supernatural Radio, California etc. ) - well, they didn't even nominate Walls which is SINFUL.

The extremely likeable cast (the camera loves them to bits) is giving solid performances (minus one). Burns, McGlone and Mahoney make a believable family unit, with Aniston and Diaz being their effortlessly luminous mid-90s comedic peak selves. Burn's screenplay starts to say a lot - yet never engagingly goes anywhere with its subtle romance farce framework, a sitcom without a well-thought-out situation.

Watched on Sunday March 23, 2025.

As more and more modern men are lemming themselves off cliffs in pursuit of the non-existent alpha status, chasing the illusion of maintaining a fabled version of masculinity that never was - this has only grown more scalding.

Like Fight Club before it, a particular group celebrates it for misunderstood reasons, and another condones not understanding the Trojan Horse scaffolding - neither prevents the arrow that co-writer/director Mary Harron and co.' are shooting from hitting its target.

Maybe besting its adapted text on the satirical front, Harron shoots the horrors in 80s neutrals (despite what revisionist modern cinema has taught us - 80s were more bone and browns and not pinks and electric teals) that seemingly are more home to a James L.Brooks dramedy or Nichols' Working Girl, making the violence that much more absurd and abhorrent.

It's bone-chillingly alert and deeply droll. Who will ever know if the ones it successfully skewers will ever know that they're the true victim of it? That making themselves into their own Ken doll idols yields a nothingness they can never allow themselves to absorb.

Still Bale's best performance to date - a misguided misogynistic missile of voided humanity who thinks all the dressings and material will hide the fact, like his doppelganger co-workers, he has nothing - no soul, no identity or faculties to fathom truly what a human is.

It never went full Looney Tunes. Big mistake. Huge.

Man, I miss seeing Janeane Garofalo on the big screen—on any screen, really. What has she been up to lately? The last thing I saw her d in was a direct-to-whatever horror Christmas movie with Skylar. Anyhoo, this is charming as heck. Great cast, great view—an undercooked cliche script, but yeah, still a lovely watch. Garofalo is such a nonchalant babe.

Bronwen Hughes' adaptation of Louise Fitzhugh's staple of children's literature is one of the most underrated and best children's films of the 90s'.

Hughes, in collaboration with her production team, especially editor Debra Chiate, composer Jamshied Sharifi, and cinematographer Francis Kenny created a lively, scrappy, bouncy and heartbreaking visual tribute to children's curiosity.

It also tackles the graduation of kids' eye goggles to tween/teen reality in a surprisingly sobering manner. This is sincerely one of the most acute cinematic depictions of the shift of kids being gleefully authentically themselves to the dour contortion oneself does whilst being perceived, a realization that that may be the only way they will be granted safe entrance into teenagedom.

Friendship break-ups are kids' first heartbreak, and the film delves and organically mines that memory in a touchingly observant way. The success of that hinges on the lead's (recently departed Michelle Trachtenberg) performance. This is Trachtenberg's best acting role - it's a minor highwire act balancing youthful imagination and a cavalcade of coming-of-age tropes with wit and delicacy. She's ed by Rosie O'Donnell as Ole' Golly, also in one of her best onscreen performances.

O'Donnell, oft' misunderstood performer and public entity, became unexpectedly perfect casing in the role of Harriet's nanny and mentor. A performance sweetly rooted in stoicism and sagacity. The movie is one of the reasons she migrated to her hit talk show, as she couldn't stand being away from her newborn for such long hours on set.

By the time this flick was in the can and ready to be released, The Rosie O'Donnell Show became the after-school hit phenomenon, making it a covert liferaft on network television for kids to sail to the island of the misfit toys as she once described. Always striving to queer code her work as much as the corps' allowed (her lesbian storylines cut out of both A League of Their Own and Now & Then. Harriet the Spy was also penned by Fitzhugh, a pioneer Lesbian in the written world) for anybody who felt queer in and beyond the orientation aspect of the word. She was so many kids' auntie, nanny, big sister and friendly teacher back in the day that the audience of a certain age had the same connection to her, as the titular main character held. An oracle for the Nickelodeon generation.

A goodbye in this, which the production and actors nail perfectly, relies on both the meta and real relationship that Ole' Golly/Rosie had with so many. To this day, one of the only movie scenes that makes me tear up every time - the "goodbye, Harriet the Spy" line especially now holding heavier air with recent tragic events.

The movie really is a lil' gift. It loves and cares for its core audience, it hugs its older audience, many with unhealed childhood pangs, with comionate empathy.

"There are as many ways to live in this world as there are people in this world, and each one deserves a closer look."

*also, sidebar, did Adam Driver's meme worthy line reading of "good soup" in GIRLS come from this?

"hiding isn't living, hiding isn't living, hiding isn't living" - well, hiding sometimes is surviving bb'.

The screenplay is luuuddaa', redONkulous, silly even. Everything regarding Lili Taylor's Eleanor character is bewilderingly misguided and muzzled. Director Jan de Bont said he wanted a main haunted house character not scared of the haunted house . . . sure, cool, what a grand idea for a giant studio haunted house movie.

Speakin' of de Bont, the man who heralded two of the 90s' most solid thriller theme park attractions (Twister and Speed) can't muster up a single thrilling scare. Honestly, there's a hanging staircase scene that coulda/shoulda been up there with that The Lost World: Jurassic Park trailer set piece (both share the same editor as well) in of suspense, but it just flops like an already dead pickerel.

What I do as a kiddo, hitting the theatres to see this, is how epic of a job de Bont and his team did at immersing the audience and utilizing the big screen so that you felt like you've actually entered that much-fangled house of heck. Rydstrom and Co.'s sound design and Eugenio Zanetti's stupendous stellar production design are meant for the large screen format (but rock out just as well with a mid' home entertainment system) and (in a super expensive ambient YouTube visual/soundscape kinda way) whisk you successfully away within the dreamy halls of Hill House.

Totally worth it to take a spin to the local multiplex to catch this, especially if you're a giant animation fan like moi. It'll be out there for just a moment, so please 'n catch it. Kinda wild that after being around for nearly 100 years this is the Looney Tunes squad's first fully animated theatrical release. They helped build the haus of Bugs aka WB, and all they had to do to get this fully released was to be unceremoniously jettisoned from WB and become an independent release with 0 marketing budget, neat.

This is DELICIOUS hand-drawn art to take in - lush animation that's a nifty combo' of retro 50's cartoon B-movie sci-fi and the snark stylings of the WB cartoon series that ruled the 90s (maybe a hiintttt of A Goofy Movie I'm detecting 'cause of course I can sniff out any A Goofy Movie seasoning).

I wish it had more of that crackling verbal/visual wit that the combo of Ruegger/Dini/Timm/Rugg imbued so idiosyncratically back in ye' olde days. It's always simmering with its jokes but never fully exploding in the way you need them to. That's okay though because being teased by this project is more than enough fun. It's an earnestly sweet ode to what being a cartoon is all abouts.

Watched on Friday March 14, 2025.

Guessing the logline for this was Meet the Parents meets Evil Dead/The Exorcist but make it gay - but by gay - the sanitized rose all day gay for surburbanite white aunties?

The horror never works, the comedy is not in the possessed room with us (but BIG KUDOS to Parker and Kudrow for massively carrying this whole project on their massive comedic shoulders), and the core romance of our two protagonists is as deeply realized as a Hallmark gay 'xmas movie called The December Dashers or whatever. It hardly utilizes Drag Race slang for its running length, which is refreshing. Lady Gaga and Bowen did just plea "no more slay" last week on SNL. I was also confused if this was supposed to take place in 2010 with Brandon Flynn running around in early Insta' millennial outfits - or if it's trying to bring back the American Apparel slim Henleys for no reason? Altogether, toothless and dim while (I think) it was going for wacky and heartfelt.

Watched on Friday March 7, 2025.

Koepp's screenplay, at times, feels like a reheated modern CBS primetime show, This Is It Ends With Us or whatever- but it makes the experimental gimmickry of this piece uniquely digestible and absorbing, despite whether it's well constructed or not.

SodaBurg is having a hoot with this, and he, along with an understated and game ensemble, elevate the material. It's kooky (starts with Julia Fox's American Horror Story esqu showcasing the house in question as a realtor), sufficiently creepy (as it keeps its viewers guessing in regards to the presence in question's intentions) and ooky (avoiding spoiler territory but the rules of this spector and why/what it does is a bit of doltish supernatural tomfoolery that would anger Dan "Psi Factor" Aykroyd).

Solid lil' horror with Lucy Liu at the top of her game playing her most unlikable character yet and with a final ten minutes that'll legit haunt ya'. An absorbing watch, perfect to add to your 2025 October/spooky season watchlist.

Wanna have a tea 'n chat with Orin so bad.

Watched on Thursday February 27, 2025.

Melancholy minimalistic moody lil' ditty that skims and skates on the surface of its subtext but never delves into it to yield maximum disturbia familia results. The sound design really steals the whole dang show. It movies along at an absorbing pace up until it's anti-climatic third act. It's an almost horrifying meditation on seeing someone you love becoming the monster you fear they may have always been which, in many ways, as horror tends to do - reflects what a lot of us are seeing on the world stage today.

authentically could not take my eyes off of this.

Watched on Friday February 28, 2025.

Watched on Tuesday February 25, 2025.

Watched on Tuesday February 25, 2025.

The best and most vital piece of cinema at this year's Golden boys, please give it a much important whirl.

Watched on Sunday February 23, 2025.

Watched on Saturday February 22, 2025.

L-O-V-E the score, sound design and cinematography and was just enraptured till the intermission. Post intermission it transformed into a Ryan Murphy production albeit with patience and a more stately mounted production. There are so many sloppy obvious misery metaphors jam-packed in the backend that it numbs its emotional cord.

That Brady and Co. take painstaking measures to achieve the look and atmosphere of this time, and an almost throwback to 60s/70s tangible filmmaking is kinda undone by the AI usage aka not trusting his performers and altering their accents and Hungarian - cinema is full of towering performances in historical epics with shitty accents, let.them.speeeaakaaaa.

I wish everybody here on LB didn't spoil that gut-punch ending (spoiler alerts me pals), but it remains a Charlie Horse to the heart. It's a gentle portrait of familial ties, maybe too confused with how to integrate the politics it holds, but tenderly conceived and well-realized.

Scala and Kolacny Brothers' Radiohead Creep cover should've been used exactly one time, for The Social Network teaser trailer, and that's abouts it.

Watched on Wednesday February 19, 2025.

Watched on Tuesday February 18, 2025.

I had fun. I'm not going to lie; I had fun. Think that's mostly the point of these flicks. The movie is a complete stitch 'n patchwork that never fully works (especially visually) as a whole, seemingly scared of stating it’s politics outright, and like a lot of MCU flicks tied to previous Dis+ TV shows it takes the thematic subtext reheats it and zaps out the nuance.

I don't want to discount the reallllyyyyy good elements here; Laura Karpman's score is already a contender for best o' the year, Harrison Ford/Carl Lumbly honest to Betsy deliver stirring effective ing performances, speaking of Betsy (well . . . close enough) Liv Tyler needs to be onscreen more, and it's earnestly charming to have the new Cap' lean into his counsellor work background as a superhero fighting CGI puddy.

Watched on Sunday February 16, 2025.

Watched on Friday February 14, 2025.

Just like the new Cap4 , The Incredible Hulk is minorly delicious kid-set comic fun - it looks great and it's an utter fucking mess. Ed Norton is a miscast/fire, the whole istsasequelbutitsnotbutitsalsonotanorginmoviebutitkindais is annoying, the self-serious tone never fully meshes well with its overblown cartoon aesthetic. There are many good things though; Peter Menzies makes this a 'beaut to look at, the MCU seeds are actually kinda fun, and you always how much of a cinematic heartbeat Liv Tyler is whenever she appears on a theatre screen.

Movies that contain dogs and/or wolves in snowy climates, arctic exploration, and so on having an adventure etc.

• The Call of the Wild
• Togo
• White Fang
• Call of the Wild
• Snow Buddies
• Eight Below
• Balto III: Wings of Change
• Balto: Wolf Quest
• Snow Dogs
• Call of the Wild

...plus 28 more. View the full list on Letterboxd.

Recognizing the top hair and make-up in cinema year 2018. (alphabetical order)

• Black Panther

  Camille Friend
  Joel Harlow
  Ken Diaz

• Border

  Goran Lundstrom
  Pamela Goldammer

• Cold Skin

  Arturo Balseiro
  Carmen Vienat
  Miguel Sese Guillot

• Suspiria

  Fernanda Perez
  Manolo Garcia
  Mark Coulier

• The Nutcracker and the Four Realms

  Jenny Shircore

• Vice

  Greg Cannom
  Kate Biscoe
  Patricia Dehaney

Recognizing the top cinematographers of 1991.
(alphabetical order)

• The Double Life of Véronique

  Slawomir Idziak

• Europa

  Henning Bendtsen
  Edward Klosinksi
  Jean Paul Meurisse

• JFK

  Robert Richardson

• Raise the Red Lantern

  Lun Yang
  Fei Zhao

• Shadows and Fog

  Carlo Di Palma

• Terminator 2: Judgment Day

  Adam Greenberg

Recognizing the top films of 1992.

• Batman Returns

  Denise Di Novi & Tim Burton

• Malcolm X

  Ahmed Murad
  Marvin Worth
  Spike Lee

• Twin Peaks: Fire Walk with Me

  Gregg Fienberg & Francis Bouyues

• Wayne's World

  Lorne Michaels

• Daughters of the Dust

  Arthur Jafa
  Julie Dash
  Steven Jones

• Unforgiven

  Clint Eastwood

• Singles

  Cameron Crowe & Richard Hashimoto

• Johnny Suede

  Yoram Mandel

• Glengarry Glen Ross

  Jerry Tokofsky & Stanley R. Zupnik

• The Player

  David Brown
  Michael Tolkin
  Nick Wechsler

The 90s gave birth to the dark deco (a term coined by the production team of Batman: The Animated Series) taking the art deco templates, tenants, and tones and tinting them with gothic, atomic retro, and industrial punk tinges. Lots of these films are triumphs of glorious style trouncing their substance.

• Teenage Mutant Ninja Turtles
• Dick Tracy
• Gremlins 2: The New Batch
• RoboCop 2
• Flatliners
• The Two Jakes
• Darkman
• GoodFellas
• Miller's Crossing
• Barton Fink

...plus 84 more. View the full list on Letterboxd.

Recognizing the top directors of 1992.
(alphabetical order)

• Batman Returns

  Tim Burton

• Daughters of the Dust

  Julie Dash

• Malcolm X

  Spike Lee

• Twin Peaks: Fire Walk with Me

  David Lynch

• Unforgiven

  Clint Eastwood

• Wayne's World

  Penelope Spheeris

Recognizing the top lead performances of 1992.
(alphabetical order)

• Bad Lieutenant

  Harvey Keitel as LT

• Hard Boiled

  Chow Yun-Fat as Insp. 'Tequila' Yuen

• Malcolm X

  Denzel Washington as Malcolm X

• Sister Act

  Whoopi Goldberg as Deloris

• Twin Peaks: Fire Walk with Me

  Sheryl Lee as Laura Palmer

• Unforgiven

  Clint Eastwood as Bill Munny

Recognizing the top six ing performances of 1992.
(alphabetical order)

• A League of Their Own

  Tom Hanks as Jimmy Dugan

• Batman Returns

  Danny DeVito as Oswald Cobblepot / Penguin

  &

  Michelle Peiffer as Selina Kyle / Catwoman

• Glengarry Glen Ross

  Jack Lemmon as Shelley Levene

• Home Alone 2: Lost in New York

  Tim Curry as Concierge

• My Cousin Vinny

  Fred Gwynne as Judge Chamberlain Haller

Recognizing the top six ing performances of 1991.
(alphabetical order)

• Boyz n the Hood

  Laurence Fishburne as Furious Styles

• Dogfight

  LilI Taylor as Rose

• The Fisher King

  Merchedes Rule as Anne

• The Indian Runner

  Viggo Mortensen as Frank Roberts

• Rambling Rose

  Lukas Hass as Buddy

• The Silence of the Lambs

  Anthony Hopkins as Dr.Hannibal Lector

Recognizing the top original screenplays of 1992.
(alphabetical order)

• Daughters of the Dust

  Julie Dash

• Death Becomes Her

  David Koepp & Martin Donovan

• Life, and Nothing More…

  Abbas Kiarostami

• My Cousin Vinny

  Dale Launer

• Singles

  Cameron Crowe

• The Crying Game

  Neil Jordan

Recognizing the top adapted screenplays of 1992.
(alphabetical order)

• Batman Returns

  Daniel Waters & Sam Hamm

• Bob Roberts

  Tim Robbins

• Candyman

  Bernard Rose

• Glengarry Glen Ross

  David Mamet

• Johnny Suede

  Tom Dicillo

• The Muppet Christmas Carol

  Jerry Juhl

Recognizing the top editing in the film year 1992.
(alphabetical order)

• Batman Returns

  Bob Badami & Chris Lebenzon

• Brother's Keeper

  Bruce Sinofsky & Joe Berlinger

• Man Bites Dog

  Eric Dardill & Remy Belvaux

• Swoon

  Tom Kalin

• Thunderheart

  Ian Crafford

• Twin Peaks: Fire Walk with Me

  Mary Sweeney

Recognizing the top casting direction and ensemble performances of 1992.
(alphabetical order)

• A League of Their Own

  casting :

  Amanda Mackey
  Ellen Lewis

  cast:

  Anne Cusack
  Anne Ramsey
  Bill Pullman
  Bitty Schram
  David L. Lander
  David Stratharin
  Don S. Davis
  Eddie Jones
  Gary Marshall
  Geena Davis
  Jon Lovitz
  Lori Petty
  Lynn Cartwright
  Madonna
  Megan Cavanagh
  Rosie O'Donnell
  Tom Hanks
  Tracy Reiner

• Glengarry Glen Ross

  casting by :

  Bonnie Timmermann
  Nathan Zale

  cast :

  Alan Arkin
  Al Pacino
  Alec Baldwin
  Bruce Altman
  Ed Harris
  Jack Lemmon
  Jonathan Pryce
  Jude Ciccolella
  Kevin Spacey
  Lori Tan Chinn

• Noises Off...

  casting :

  Alison Cowitt
  Mike Fenton

  cast :

  Carol Burnett
  Christopher Reeve
  Denholm Elliot
  John Ritter
  Julie Hagerty
  Marilu Henner
  Mark Linn-Baker
  Michael Caine
  Nicolette Sheridan

• School Ties

  casting :

  Lisa Beach
  Patricia McCorkle

  cast :

  Amy Locane
  Andrew Lowery
  Anthony Rapp
  Ben Affleck
  Brendan Fraser
  Chris O'Donnell
  Cole Ha
  Ed Lauter
  Kevin Tighe
  Matt Damon
  Michael Higgins
  Peter Donat
  Peter McRobbie
  Randall Batinkoff
  Zelijko Ivanek

• Unforgiven

  casting :

  Phyllis Huffman

  cast :

  Anna Thomson
  Anthony James
  Clint Eastwood
  David Mucci
  s Fisher
  Gene Hackman
  Jamiz Wollvett
  Morgan Freeman
  Richard Harris
  Rob Campbell
  Saul Rubinek

• Wayne's World

  casting :

  Glenn Daniels

  cast :

  Alice Cooper
  Brain Doyle-Murray
  Chris Farley
  Colleen Camp
  Dan Bell
  Dana Carvey
  Ed O'Neil
  Frederick Coffin
  Ione Skye
  Kurt Fuller
  Lara Flynn Boyle
  Lee Tergesen
  Meat Loaf
  Michael DeLuise
  Mike Myers
  Robert Patrick
  Rob Lowe
  Sean Sullivan
  Tia Carrere

Recognizing the top cinematography in 1992.
(alphabetical order)

• A River Runs Through It

  Philippe Rousselot

• Baraka

  Ron Fricke

• Deep Cover

  Bojan Bazelli

• Hoffa

  Stephen H. Burum

• The Long Day Closes

  Michael Coulter

• Unforgiven

  Jack N. Green

Recognizing the top art direction, production design, and set decoration of 1992.
(alphabetical order)

• Batman Returns

  Bo Welch
  Cheryl Carasick
  Rick Heinrichs
  Tom Duffield

• Bebe's Kids

  Doug Walker & Fred Cline

• Bram Stoker's Dracula

  Andrew Precht
  Garrett Lewis
  Thomas E. Sanders

• Hoffa

  Brian Saveger
  Gary Wisner
  Ida Random

• Howards End

  John Ralph
  Ian Whittaker
  Luciana Arrighi

• Toys

  Ferdinando Scarfiotti
  Edward Richardson
  Linda DeScenna

Recognizing the top hair, cosmetic, and make-up effects and styling of 1992.
(alphabetical order)

• Batman Returns

  Ronnie Specter
  Stan Winston
  Ve Neil
  Yolanda Toussieng

• Bram Stoker's Dracula

  Greg Cannom
  Mari Bloom
  Matthew W.Mungle
  Michele Burke

• Death Becomes Her

  Dick Smith & Kevin Haney

• Hoffa

  Greg Cannom
  John Blake
  Ve Neil
  Yolanda Toussieng

• The Last of the Mohicans

  Justin J. Guastini & Peter Robb-King,

• The Vagrant

  Jennifer Bell
  Mark Walas
  Mike Smithson

Recognizing the top sound/design/editing/effects of 1992.
(alphabetical order)

• A River Runs Through It

  Gary Rydstrom & Richard Hymans

• Aladdin

  David J. Hudson
  Doc Kane
  Mark A. Mangini
  Mel Metcalfe
  Terry Porter
  Vince Caro

• Lorenzo's Oil

  Gareth Vanderhope & Lee Smith

• The Last of the Mohicans

  Chris Jenkins
  Doug Hemphill
  Larry Kemp
  Lon Bender
  Mark Smith
  Paul Massey

• Twin Peaks: Fire Walk with Me

  David Lynch & Douglas Murray

• Unforgiven

  Alan Robert Murray
  Les Fresholtz
  Rick Alexander
  Rob Young
  Vern Poore
  Walter Murray

Recognizing the top costume designs of 1992.
(alphabetical order)

• Batman Returns

  Bob Ringwood & Mary E. Vogt

• Bram Stoker's Dracula

  Eiko Ishioka

• Daughters of the Dust

  Arline Burks Grant

• Howards End

  Jenny Beavan and John Bright

• Malcolm X

  Ruth E. Carter

• The Muppet Christmas Carol

  Ann Hollowood & Polly Smith

Recognizing the top movie scores of 1992.
(alphabetical order)

• 1492: Conquest of Paradise

  Vangelis

• Basic Instinct

  Jerry Goldsmith

• Batman Returns

  Danny Elfman

• Bram Stoker's Dracula

  Wojciech Kilar

• Candyman

  Phillip Glass

• Twin Peaks: Fire Walk with Me

  Angelo Badalamenti

Recognizing the top movie songs of 1992.
(alphabetical order)

• Bob Roberts

  "complain"

  music & lyrics by :

  David Robbins & Tim Robbins

• Johnny Suede

  "never girl"

  music & lyrics by :

  Tom DiCillo

• Aladdin

  " (a) friend like me"

  music by: Alan Menken lyrics by: Howard Ashman

  "one jump ahead"

  music by: Alan Menken lyrics by: Tim Rice

  "prince ali"

  music by : Alan Menken lyrics by : Howard Ashman

• Twin Peaks: Fire Walk with Me

  "questions in a world of blue"

  music by: Angelo Badalamenti
  lyrics by: David Lynch

Recognizing the top visual effects of 1992.

(alphabetical order)

• Aladdin

  Barry Cook
  Don Paul
  Jeff Dutton
  Steve Goldberg

• Batman Returns

  Craig Barron
  Dennis Skotak
  John Bruno
  Michael L. Fink

• Bram Stoker's Dracula

  Gary Gutierrez
  Gene Warren Jr.
  Michael Lantieri
  Roman Coppola

• Death Becomes Her

  Alec Gillis
  Doug Chiang
  Douglas Smythe
  Ken Ralston
  Michael Lantieri
  Tom Woodruff Jr.

• Memoirs of an Invisible Man

  Bruce Nicholson & Ned Gorman

• The Muppet Christmas Carol

  David Harris & John Stephenson

Recognizing the top special performances (voice-over/motion capture performance/puppeteering etc.) of 1992.
(alphabetical order)

• Aladdin

  "genie"

  Eric Goldberg
  Robin Williams

  "iago"

  Gilbert Gottfried
  Will Finn

  "magic carpet"

  Randy Cartwright

• FernGully: The Last Rainforest

  "hexxus"

  John Allan Armstrong
  Tim Curry

• Reservoir Dogs

  "k-billy DJ"

  Steven Wright

• The Muppet Christmas Carol

  "rizzo the rat"

  Steve Whitmire

Recognizing the top music supervision/coordination of 1992.
(alphabetical order)

• Johnny Suede

  Tom DiCillo

• Singles

  Danny Bramson

• Sister Act

  Curtis Roush
  Daniel Allan Carlin
  Jimmy Vivino

• The Bodyguard

  Art Ford
  Maureen Crowe

• The Long Day Closes

  Bob Last

• Wayne's World

  Arelene matza-Jackson
  Maureen Crowe
  Steve McCroskey

Recognizing the top stunt/action choreography of 1992. (alphabetical order)

• Hard Boiled

  Bruce Law
  Jackie Yeung
  Phillip Chung-Fung Kwok

• Hoffa

  Andy Armstrong

• Lethal Weapon 3

  Charlie Percini & Mic Rodgers

• Dragon Inn

  Bun Yen
  Donnie Yen
  Siu-Tung Ching
  Wing Choo
  Xin Xin Xiong
  Yiu-Sing Cheung

• Police Story 3: Super Cop

  Ailen Sit
  Jackie Chan
  Man-ching Chan
  Michelle Yeoh
  Ming-sing Won
  Stanley Tong
  Tak-wing Tang

• Rapid Fire

  Brandon Lee
  Clint Cadinha
  Jeff Imada

Recognizing the top special performances (voice-over/motion capture performance/puppet performances etc) of 1991.
(alphabetical order)

• An American Tail: Fievel Goes West

  "wylie burp"

  James Stewart
  Nancy Beirman

• Beauty and the Beast

  "beast"

  Bill Berg
  Glean Keane
  Robby Benson

  "belle"

  Paige O'Hara
  Mark Henn
  Rene Holt

  "cogsworth"

  David Ogden Stiers
  Will Finn
  Nancy Kniep

  "lumiere"

  Jerry Orbach
  Debra Armstrong
  Nik Ranieri

  
  "mrs.potts"

  Angela Lansbury
  David Pruiksma

• Europa

  "narrarator"

  Max Von Sydow

Recognizing the top special performances (voice-over, puppeteering, motion capture etc.) of 2017.
(alphabetical order)

• The Shape of Water

  "Amphibian Man"

  Dennis Berardi
  Doug Jones
  Mike Hill
  Shane Mahan

• War for the Planet of the Apes

  "Bad Ape"

  Alessandro Bonora
  Daniel Barrett
  Emile Ghorayeb
  Luisma Lavin
  Sidney Kombo
  Steve Zahn

  "Ceaser"

  Alessandro Bonora
  Andy Serkis
  Daniel Barrett
  Emile Ghorayeb
  Luisma Lavin
  Sidney Kombo

  "Maurice"

  Alessandro Bonora
  Daniel Barrett
  Emile Ghorayeb
  Karin Konoval
  Luisma Lavin
  Sidney Kombo

• Thor: Ragnarok

  "Korg"

  Taika Waititi
  Jake Morrison
  Raphael Pimentel

• Star Wars: The Last Jedi

  "Yoda" - Frank Oz

Recognizing the top editing in the film year 2017.
(alphabetical order)

• Baby Driver

  Jonathan Amos
  Paul Machliss

• Call Me by Your Name

  Walter Fasano

• Casting JonBenet

  Davis Coombe

• Good Time

  Ronald Bronstein
  Benny Safdie

• Nocturama

  Fabrice Rouaud

• T2 Trainspotting

  Jon Harris

Recognizing the top music supervision/coordination of 2017.
(alphabetical order)

• All These Sleepless Nights

  Pawel Juzwuk

• Baby Driver

  Kirsten Lane
  Bradley Farmer

• Call Me by Your Name

  Gerry Gershman
  Roberto Solci
  Lindsey Taylor
  Robin Urdang
  Walter Fasano
  Angelo Raguso

• Girls Trip

  Art Ford
  Angela Leus
  Jeff Carson
  Annette Cudrack
  E. Gedney Webb

• Patti Cake$

  Joe Rudge

• T2 Trainspotting

  Allan Jenkins

Recognizing the top original screenplays of 2017.
(alphabetical order)

• Get Out

  Jordan Peele

• Lady Bird

  Greta Gerwig

• Lipstick Under My Burkha

  Alankrita Shrivastava
  Gazal Dhaliwal
  Suhani Kanwar

• Lucky

  Drago Sumonja
  Logan Sparks

• Phantom Thread

  Paul Thomas Anderson

• Princess Cyd

  Stephen Cone

Recognizing the top adapted screenplays of 2017.
(alphabetical order)

• Gerald's Game

  Jeff Howard
  Mike Flanagan

• Lady Macbeth

  Alice Birch

• Manifesto

  Julian Rosefeldt

• Murder on the Orient Express

  Michael Green

• The Little Hours

  Jeff Baena

• Thor: Ragnarok

  Christopher L. Yost
  Craig Kyle
  Eric Pearson

Recognizing the top lead performances of 2017.
(alphabetical order)

• Beach Rats

  Harris Dickinson as "Frankie"

• Call Me by Your Name

  Timothee Chalamet as "Elio"

• Ingrid Goes West

  Aubrey Plaza as "Ingrid Thorburn"

• Lady Macbeth

  Florence Pugh - "Katherine"

• Lucky

  Harry Dean Stanton as "Lucky"

• Murder on the Orient Express

  Kenneth Branagh as "Hercule Poirot"

Recognizing the top ing performances of 2017.
(alphabetical order)

• Colossal

  Jason Sudeikis as "Oscar"

• Get Out

  Allison Williams as "Rose Armitage"

• Girls Trip

  Tiffany Haddish as "Dina"

• Star Wars: The Last Jedi

  Mark Hamill as "Luke Skywalker"

• The Florida Project

  Bria Vinaite as "Halley"

• The Killing of a Sacred Deer

  Barry Keoghan as "Martin"

Recognizing the top sound/design/editing/effects of 2017.
(alphabetical order)

1. Baby Driver

   Mark Appleby
   Tim Cavagin
   Gareth Cousins
   Mary H. Ellis
   Dan Morgan
   Julian Slater

2. Dawson City: Frozen Time

   John Somers
   Alex Somers

3. Detroit

   Ray Beckett
   Jamie Hardt
   Paul N.J. Ottosson
   Hamilton Sterling
   Christian Schaanning
   Robert Troy

4. Dunkirk

   Richard King
   Alex Gibson
   Gregg Landaker
   Gary Rizzo
   Mark Weingarten

5. mother!

   Noyan Cosarer
   Craig Henighan
   Simon Poudrette
   Jill Purdy

6. War for the Planet of the Apes

   Chris Duesterdiek
   Andy Nelson
   Will Files
   Douglas Murray
   R.J. Kizer

Recognizing the top art direction and production design of 2017.
(alphabetical order)

• A Cure for Wellness

  Grant Armstrong
  Mark Rosinski
  Michael Standish
  Eve Stewart

• Blade Runner 2049

  Dennis Gassner
  Paul Inglis
  Alessandra Querzola

• Murder on the Orient Express

  Rebecca Alleway
  Jim Clay
  Dominic Masters

• The Florida Project

  Kurt Thoresen
  Stephonik Youth

• The Shape of Water

  Paul D. Austerberry
  Nigel Churcher
  Jeffrey A. Melvin
  Shane Vieau

• Wonder Wheel

  Regina Graves
  Miguel López-Castillo
  Santo Loquasto

Recognizing the top movie scores of 2017.
(alphabetical order)

• Get Out

  Michael Abels

• Dunkirk

  Hans Zimmer

• King Arthur: Legend of the Sword

  Daniel Pemberton

• Murder on the Orient Express

  Patrick Doyle

• Phantom Thread

  Johnny Greenwood

• The Blackcoat's Daughter

  Elvis Perkins

Recognizing the top cinematography in 2017.
(alphabetical order)

• All These Sleepless Nights

  Michal Marczak
  Maciej Twardowski

• Blade Runner 2049

  Roger Deakins

• Mudbound

  Rachel Morrison

• Phantom Thread

  Paul Thomas Anderson

• Sleep Has Her House

  Scott Barley

• Wonder Wheel

  Vittorio Storaro

Recognizing the top hair and make-up of 2017.
(alphabetical order)

• Darkest Hour

  David Malinowski
  Kazuhiro Tsuji
  Lucy Sibbick

• Guardians of the Galaxy Vol. 2

  Alexei Dmitiew
  Brian Sipe
  Camille Friend
  John Blake
  Jules Holdren
  Louisa V. Anthony
  Tina Fabulic

• Gerald's Game

  Kelly Muldoon
  Robert Kurtzman
  Tiffanie Hudson
  Staci Witt

• Murder on the Orient Express

  Carol Hemming
  Chiara Ugolini
  Luca Saccuman
  Wakana Yoshihara

• Star Wars: The Last Jedi

  Peter King
  Neal Scanlan

• The Shape of Water

  Jordan Samuel
  Mike Hill
  Paula Fleet
  Shane Mahan

Recognizing the top costume designs of 2017.
(alphabetical order)

• Beauty and the Beast

  Jacqueline Durran

• Phantom Thread

  Mark Bridges

• Star Wars: The Last Jedi

  Michael Kaplan

• The Little Hours

  Natalie O'Brien

• Thor: Ragnarok

  Mayes C. Rubeo

• Wonder Woman

  Lindy Hemming

Recognizing the stunt/action choreography of 2017. (alphabetical order)

• Atomic Blonde

  Monique Ganderton
  Daniel Hargrave
  Sam Hargrave
  Florian Hotz
  Lilla Nemeth
  Greg Rementer
  Jon Valera

• Baby Driver

  Robert Nagle
  Darrin Prescott

• Dunkirk

  Tom Struthers

• mother!

  Marc Désourdy

• Star Wars: The Last Jedi

  Nicole Chapman
  Rob Inch
  Liang Yang

• The Hitman's Bodyguard

  Kevin Beard
  James Grogan
  Dian Hristov
  Borislav Iliev
  Greg Powell
  Amy Stares

Recognizing the top visual effects of 2017.
(alphabetical order)

• Blade Runner 2049

  John Nelson
  Gerd Nefzer
  Paul Lambert
  Richard R. Hoover

• Dunkirk

  Andrew Jackson
  Andrew Lockley
  Scott R. Fisher
  Paul Corbould

• Kong: Skull Island

  Stephen Rosenbaum
  Jeff White
  Scott Benza
  Michael Meinardus

• Pirates of the Caribbean: Dead Men Tell No Tales

  Gary Brozenich
  Sheldon Stopsack
  Patrick Ledda
  Richard Clegg
  Richard Little

• Star Wars: The Last Jedi

  Ben Morris
  Michael Mulholland
  Neal Scanlan
  Chris Corbould

• War for the Planet of the Apes

  Joe Letteri
  Daniel Barrett
  Dan Lemmon
  Joel Whist

Recognizing the top movie songs of 2017.
(alphabetical order)

• A Ghost Story

  "i get overwhelmed" music & lyrics by: daniel hart

• Call Me by Your Name

  "mystery of love" music & lyric : sufjan stevens
  "visions of gideon" music & lyric : sufjan stevens

• Coco

  " me" music & lyrics - robert lopez and kristen anderson lopez

• Good Time

  "the pure and the damned" music - daniel lopatin lyrics - iggy pop

• The Greatest Showman

  "this is me" music & lyrics - benj pasek & justin paul

Recognizing the top casting directors and ensemble performances of 1991.
(alphabetical order)

• The Addams Family

  casting by David Rubin

  ftr.

  Anjelica Huston
  Raul Julia
  Christopher Lloyd
  Dan Hedaya
  Elizabeth Wilson
  Judith Malina
  Carel Struycken
  Dana Ivey
  Jimmy Workman
  Christopher Hart
  Christinna Ricci

• Barton Fink

  casting by Donna Isaacson & John S. Lyons

  frt.

  John Turturro
  John Goodman
  Judy Davis
  Michael Lerner
  John Mahoney
  Tony Shalhoub
  Jon Polito
  Steve Buscemi

• The Commitments

  casting by John Hubbard & Ros Hubbard

  ftr.

  Robert Arkins
  Com Meaney
  Andrew Strong
  Maria Doyle Kennedy
  Bronagh Gallagher
  Glen Hansard
  Kenneth McCluskey
  Johnny Murphy
  Felim Gormley
  Michael Aherene
  Dave Finnegan
  Dick Massey
  Andrea Corr
  Angelina Ball
  Anne Kent

• JFK

  casting by Risa Bramon Garcia, Billy Hopkins & Heidi Levitt

  ftr.

  Kevin Costner
  Tommy Lee Jones
  Gary Oldman
  Joe Pesci
  Kevin Bacon
  Jack Lemmon
  Sissy Spacek
  Walter Mathau
  Donald Sutherland
  Edward Asner
  Brian Doyle-Murray
  John Candy
  Laurie Metcalf
  Wayne Knight
  Michael Rooker
  Jay O.Sanders
  Vincent D'onofrio

• Raise the Red Lantern

  ftr.
  Cuifer Cao
  Zhihgang Cui
  Saifei He
  Shuyuan Jin
  Lin Kon
  Jingwa Ma
  Gong Li

• Shadows and Fog

  casting by Juliet Taylor

  ftr.

  Woody Allen
  Michael Kirby
  David Ogden Stiers
  James Rebhorn
  Victor Argo
  Daniel von Bargen
  Camille Saviola
  Mia Farrow
  John Malkovich
  Madonna
  Donald Pleasence
  Lily Tomlin
  Jodi Foster
  Kathy Bates
  Anne Lange
  John Cusack
  Greg Stebner
  Kate Nelligan
  Kurtwood Smith
  Charles Cragin
  Kenneth Mars
  Julie Karvner
  Wallace Shawn

Recognizing the top directors of 1991.
(alphabetical order)

• A Brighter Summer Day

  Edward Yang

• Delicatessen

  Jean-Pierre Jeunet
  Marc Caro

• JFK

  Oliver Stone

• Shadows and Fog

  Woody Allen

• Slacker

  Richard Linklater

• Terminator 2: Judgment Day

  James Cameron

Recognizing the top lead performances of 1991.
(alphabetical order)

• The Addams Family

  Anjelica Huston as Morticia Addams

• Bugsy

  Warren Beatty as Bugsy Siegel

• My Own Private Idaho

  River Pheonix as Mike Waters

• Naked Lunch

  Peter Weller as Bill Lee

• The Silence of the Lambs

  Jodi Foster as Clarice Starling

• Terminator 2: Judgment Day

  Linda Hamilton as Sarah Connor

Recognizing the top casting directors and ensemble performances of 2017.
(alphabetical order)

• Get Out

  casting by : Terri Taylor

  Daniel Kaluuya
  Allison Williams
  Catherine Keener
  Bradley Whitford
  Caleb Landry Jones
  Marcus Henderson
  Betty Gabriel
  Stephen Root
  Lakeith Stanfield
  Lil Rel Howery

• Ingrid Goes West

  casting by: Justine Arteta Kim Davis-Wagner

  Aubrey Plaza
  Elizabeth Olsen
  O'Shea Jackson Jr.
  Wyatt Russell
  Billy Magnussen
  Pom Klementieff

• Lady Bird

  casting by : Heidi Griffiths
  Allison Jones
  Jordan Thaler

  Saoirse Ronan
  Laurie Metcalf
  Tracy Letts
  Lucas Hedges
  Timothée Chalamet
  Beanie Feldstein
  Lois Smith
  Stephen McKinley Henderson
  Odeya Rush
  Jordan Rodrigues
  Marielle Scott

• Logan

  casting by : Lisa Beach
  Priscilla John
  Sarah Katzman

  Hugh Jackman
  Patrick Stewart
  Dafne Keen
  Boyd Holbrook
  Stephen Merchant
  Elizabeth Rodriguez
  Richard E. Grant
  Eriq La Salle
  Elise Neal
  Quincy Fouse

• Murder on the Orient Express

  casting by : Lucy Bevan

  Kenneth Branagh
  Penélope Cruz
  Josh Gad
  Johnny Depp
  Derek Jacobi
  Michelle Pfeiffer
  Judi Dench
  Tom Bateman
  Willem Dafoe
  Leslie Odom Jr.
  Daisy Ridley
  Marwan Kenzari
  Olivia Coleman
  Lucy Boynton
  Manuel Garcia-Rulfo
  Sergei Polunin

• Mudbound

  casting by : Billy Hopkins
  Ashley Ingram

  Jonathan Banks
  Mary J. Blige
  Jason Clarke
  Garrett Hedlund
  Jason Mitchell
  Rob Morgan
  Carey Mulligan

Recognizing the top film editing of 1991.
(alphabetical order)

• Cape Fear

  Thelma Schoonmaker

• JFK

  John Hutshing
  Pietro Scalia

• Point Break

  Howard E. Smith

• The Silence of the Lambs

  Craig Mckay

• Terminator 2: Judgment Day

  Conrad Buff IV
  Mark Goldblatt
  Richard A. Harris

• Thelma & Louise

  Thom Noble

Recognizing the top original screenplays of 1991.
(alphabetical order)

• Barton Fink

  Joel Coen
  Ethan Coen

• Defending Your Life

  Albert Brooks

• Homicide

  David Mamet

• L.A. Story

  Steve Martin

• Slacker

  Richard Linklater

• Thelma & Louise

  Callie Khouri

Recognizing the top adapted screenplays of 1991.
(alphabetical order)

• Beauty and the Beast

  Linda Woolverton
  Roger Allens

• JFK

  Oliver Stone
  Zachary Sklar

• Naked Lunch

  David Cronenberg

• Raise the Red Lantern

  Ni Zhen

• Shadows and Fog

  Woody Allen

• The Silence of the Lambs

  Ted Tally

Recognizing the top costume design of 1991.
(alphabetical order)

• The Addams Family

  Ruth Meyers

• Black Robe

  John Hay
  Renee April

• Delicatessen

  Valerie pozzo di Borgo

• Hook

  Anthony Powell

• Robin Hood: Prince of Thieves

  John Bloomfield

• The Rocketeer

  Marilyn Vance

Recognizing the top art direction/production design/set decoration of 1991. (alphabetical order)

• The Addams Family

  Ichard Macdonald
  Margie Stone McShirley
  Cheryal Kearney
  John Sweeney

• Barton Fink

  Dennis Gassner
  Robert C. Goldstein
  Leslie McDonald
  Nancy Haigh

• Black Robe

  Herbert Pinter
  Gavin Mitchell
  Real Proulx

• Delicatessen

  Marc Caro
  Miljen Kreka Kljakovic
  Aline Bonetto

• Hook

  Norman Garwood
  Andrew Precht
  Thomas E. Sanders
  Garrett Lewis

• Shadows and Fog

  Santo Loquasto
  Speed Hopkins
  George DeTitta Jr.
  Amy Marshall